7
Flemish school; 17th century."Calvary".Oil on copper. It has slight restorations.It conserves an
1/5
Description
Flemish school; 17th century.
"Calvary".
Oil on copper.
It has slight restorations.
It conserves an antique frame veneered in rosewood.
Measurements: 16,5 x 13,5 cm; 21,5 x 18,5 cm (frame).
This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the depiction of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, in Flanders a monumental art flourished in the service of the Catholic Church, partly due to the need to restore the damage that the wars had caused to churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work. The present canvas, on the other hand, shows formal innovations, but not thematic or compositional ones, as it maintains the formula of the intimate and sober religious painting of the previous century.
"Calvary".
Oil on copper.
It has slight restorations.
It conserves an antique frame veneered in rosewood.
Measurements: 16,5 x 13,5 cm; 21,5 x 18,5 cm (frame).
This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the depiction of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, in Flanders a monumental art flourished in the service of the Catholic Church, partly due to the need to restore the damage that the wars had caused to churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work. The present canvas, on the other hand, shows formal innovations, but not thematic or compositional ones, as it maintains the formula of the intimate and sober religious painting of the previous century.
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Flemish school; 17th century.
"Calvary".
Oil on copper.
It has slight restorations.
It conserves an antique frame veneered in rosewood.
Measurements: 16,5 x 13,5 cm; 21,5 x 18,5 cm (frame).
This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the depiction of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, in Flanders a monumental art flourished in the service of the Catholic Church, partly due to the need to restore the damage that the wars had caused to churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work. The present canvas, on the other hand, shows formal innovations, but not thematic or compositional ones, as it maintains the formula of the intimate and sober religious painting of the previous century.
"Calvary".
Oil on copper.
It has slight restorations.
It conserves an antique frame veneered in rosewood.
Measurements: 16,5 x 13,5 cm; 21,5 x 18,5 cm (frame).
This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the depiction of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, in Flanders a monumental art flourished in the service of the Catholic Church, partly due to the need to restore the damage that the wars had caused to churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work. The present canvas, on the other hand, shows formal innovations, but not thematic or compositional ones, as it maintains the formula of the intimate and sober religious painting of the previous century.
9th March - Old Masters
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